“Easy To Love You” – This song took a ten-year hiatus but came back refreshed. The lyrics were a little cheesy (“never trust a woman who wears her pants too tight”), but Brent’s wailing delivery usually made up for it.Ĩ. Brent brought out the bluesy side of Jerry. It never made an album, but allowed the band to dig deep early in the set. “Never Trust A Woman/Good Time Blues”- Besides “Far From Me,” this was Brent’s longest-tenured song with the band. Bassist Aaron Gibson did a touching version of the song as well for the 2012 “Dead Covers” project.ħ. The second night of the MSG run in 1988, and at Shoreline Amphitheatre on 6/17/90 are two standout performances as a result. It usually appeared out of “Space” and was written as a lullaby to his daughter who he brought on stage twice to sit next to him. “I Will Take You Home” – This was one of the few Dead songs to have no guitar solo whatsoever. To hear the evidence, check out the version from Merriweather Post on 6/30/85.Ħ. Jerry’s solo, while nothing like Clapton’s, was a pure delight. Once again, Phil and Brent combine to make the song sound more like an anthem than the original. They premiered this Derek and the Dominos classic at their 20th Anniversary show at the Greek Theatre on 6/14/85. The band only did it from’85-’86, but every version was great.
“Keep On Growing” – This was another duet with Phil. “Feel good music in your soul/Make your body wanna rock and roll,” indeed.ĥ. It would often open a set and hit the crowd with some New Orleans funk. “Hey Pocky Way” – From their many on-stage collaborations with the Neville Brothers came this cover on the Fall ’87 tour. The band even walked off stage as he kept going and returned to finish.Ĥ. Brent’s rap made it far more than a simple rave-up as he pleaded with the crowd to heed his message. The last night at the Cap Centre in Spring ‘90 (the whole tour has since been officially released) they end the first set with a 12-minute version that truly brought the house down. But it was Jerry’s wicked guitar solo that turned the studio version into a monster on stage.
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He knew how to sing about pain, that’s for sure. “Blow Away”- This was one of Brent’s many love songs. The band tried it once without him at Bruce Hornsby’s first show, but it just wasn’t the same.ģ. The first version was far from the best, but the tune fired up many a second set until Brent’s passing. Out of a raging (and surprising pre-Drums) “Wharf Rat”, Phil and Brent showed off their vocal blend on this debut of another Steve Winwood song. “Gimme Some Lovin” – This was the song that brought Phil Lesh back behind the microphone on 11/2/84, Berkeley Community Theatre. He always sang it with so much conviction that you’d think it was about him.Ģ. Not only did Brent sing the hell out of it but it also brought some of the raunchiest Jerry solos after the band stopped playing “Passenger.” Of all of the songs he sang, including his own, this was the song most identified with Brent. “Fantasy” was premiered on 6/14/84 at Red Rocks and the band played it without the Beatles ending until ’88. Fantasy->Hey Jude Finale” – These could really have counted as two separate entries. He may have felt underappreciated, but Glide commemorates what would have been his 65th birthday on Octowith his 10 best songs.ġ. But Brent wasn’t able to make himself happy offstage and his death in 1990 symbolized the end of sustained excellence for many ‘Heads. Brent was able to push Jerry on stage and was often the recipient of his biggest smiles. Video of any of the summer shows from ‘87-‘90 that have been officially released show amazing chemistry between the two. He seemed to have the biggest effect on Jerry.
The next studio album, Go To Heaven, would contain two of his compositions. Even though it was a commercial failure, his influence would continue to grow on stage and in the studio. After some rehearsals on Ap, Brent was thrown into the fire in San Jose six days later. With his voice, he brought a rough-hewn edge to the music while his synthesizer gave it more polish. Brent was able to fil both jobs, although his voice sounded more like a soprano version of Gregg Allman. The band wanted to utilize the then-new sound of electric keyboards while keeping the high harmonies that Donna handled (with varying degrees of success). He cut his teeth in the LA-based band Silver and then with Bob Weir’s “Midnites.” His arrival came after the Dead and the Godchaux’s decided to mutually part ways in 1979. Brent Mydland always saw himself as the new guy on keyboards for the Grateful Dead. He held that keyboard position longer than anyone before or since, but could never rid himself of the feeling of not completely belonging in the group.
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